The present invention relates to shoes used in dance, particularly ballet. More particularly the present invention relates to a pointe shoe for ballet.
A pointe shoe is a ballet shoe that has a rigid toe box that helps support a dancer's foot and ankle during en pointe dancing and movements. Mastering the art of pointe work requires experience, strength and an awareness of one's body and its capabilities. Pointe shoes are aimed at these various stages of a dancer's strengths and abilities. For example, for a shoe for beginners/students this means the shoe has been developed for strengthening and support. Further a dancer's foot dynamically changes shape as it moves from flat to pointe and demi-pointe, and each part of the pointe shoe must accommodate specific demands and provide comfort and support. Accordingly, pointe shoes need to be properly fitted to a dancer's specific anatomy.
Pointe shoe's today have evolved very little from pointe shoes constructed centuries ago. The basic construction involves forming a toe box from layers of fabric, burlap, hessian cardboard, paper, plastic, leather, or any combination of the foregoing. The layers are typically saturated with glue to form a rigid toe box. The toe box is connected to a shank that is rigid and supports the underfoot. The shank may come in various lengths such as full, ¾, and ½ depending on the strength and experience of the dancer and the kind of dance for which the shoe is intended. The shank may be formed integral with the toe box or attached via adhesives, stitching, nailing, or any combinations of the foregoing. An upper 17 for surrounding the foot is connected to the shank and toe box using any of the same fastening techniques. The shoe also includes a strap system attached to the upper for securing and supporting the shoe onto the foot and ankle.
Conventional pointe shoes must be broken-in by a dancer to help provide a customized fit that facilitates comfort and support. The break-in procedure can be laborious and slow. Doing “barre” exercises is one way dancers break-in their pointe shoes. However, dancers cannot stand at the barre with a new pair of pointe shoes and expect to do a tendu, so the shoe needs to be prepared for barre by gently softening the shank and box by hand. The dancer concentrates on the demi-pointe area of the shank being careful not to crush the box. Then the dancer works up to the heel gently massaging the shank until it is at a point where tendu and releve to demi-pointe is comfortable. Softening the box is not always necessary and is left up to the individual. If softening is necessary then the dancer concentrates on gently softening the sides of the box. Many dancers stand on the top of the box in order to soften and widen it. However, standing on the box or squashing the box can permanently damage the shoe. If the dancer stands on the toe box, the dancer must concentrate the pressure on either side of the box center. This is important because the top center of the box is usually weakest point and prone to the most damage if stood on. Once the shoes are ready for barre, 1 to 2 hours of barre will be needed to shape them to a dancer's foot. At this point the shoes will be evenly softened with no weak points resulting from an incorrect breaking technique.
Another approach for breaking-in pointe shoes applies to certain shoes that are made from a paste that is designed to soften when moisture is applied. The technique follows the technique above to prepare the shoe for barre. Then after 1 to 2 hours of barre the shoe should become moist and shape itself to the dancer's foot. Once the shoe dries it will have set in the shape of the dancer's foot. At this point, Shellac may be applied to the inside of the block and shank. Not only will this harden the shoe in its current shape, but it will also stop any more moisture entering the shoe. This results in a strong shoe, molded in the shape of the individual dancer's foot on the inside, while leaving a quiet exterior. However, shoes molded by this method are permanently set and cannot be adjusted, as a dancer may subsequently desire.
The traditional break-in techniques are also harsh on a shoe and can shorten the performance lifespan of the shoe.
It should be apparent from the foregoing that breaking-in a pointe shoe can be a laborious and time consuming task. Accordingly, there is a need for improved ballet shoes that honor traditional forms of construction, but which are more readily and easily broken-in by a dancer. There is also a need for shoes that can be readjusted to provide better fit or position. There is also a need for shoes that can be broken in easily without substantial loss of performance life span.